Daily Archives: December 19, 2012

Despite one frustration arising from it, La Fuga (The Escape) the debut album from Italian gothic rock band Sinezamia is a rather tasty shadowed delight. Fusing dark rock with new wave and post punk, the Mantova quintet has created an album which is perpetually enthralling with its often nostalgia inspiring sounds and emotive breath. From an initially absorbing first impression it also grows into a presence which is hard to tear oneself from though once you do it is arguably not as memorable in hindsight as you expect. In its company though it is a thoroughly pleasing and exciting release.

That frustration mentioned at the start is actually surprising. Usually there is never an issue with bands singing in their native tongue, in fact very often it adds something extra emotively, but on La Fuga it left one feeling out in the cold a little, like missing out on the secret you are meant to support without knowing its content. Despite that the album leaves only satisfaction and welcomed intrigue amongst thoughts and emotions.

Formed in 2004, Sinezamia began finding a shape and stronger response to their well-received dark wave/rock sounds from 2006 which elevated with the release of their debut EP Fronde the following year. Media and fans took to the release with eagerness and the band began pulling in more to their fan base through touring. With a new line-up in 2009 the band recorded their second EP Sacralità which was released to strong success and interest from the print media and radio not forgetting an ever increasing legion of fans. As a foretaste of what was to come from La Fuga, the single off of it Ombra came out in 2011 to fire up anticipation for what has emerged as a very impressive debut full length.

The album has a grip on the passions immediately with opener Ghiaccio Nero (translated as Black Ice), the breath of synths and the pulsating velvet clad bassline an instant infectious lure. Within seconds one is reminded of The Cure around their second and third albums with the contagious melodic hooks of Leitmotiv. The bass of Marco Beccari is irresistible within the weaves of sonic elegance from the keys of Charles Henry Scaietta and the teasing guitar play of Federico Bonazzoli. Into its stride with the great vocals of Marco Grazzi at their expressive might the track shifts into the darker aural shadows of Bauhaus to leave one even more magnetically drawn to the track. It is an excellent start instigating memories and pleasures from a few decades ago with a fresh touch.

The title track is a harder straight forward encounter of rock n roll with the rhythms of drummer Stephen Morbini leading the muscular passage with skill and tight control. The song still leads the ear into beckoning dark corners but lacks the mesmeric charm of the first though instead offers a bite which not only shows a good diversity to the music of the band but entraps a willing attention with ease.

Nella Distanza opens on a slow haunting bass resonance before expanding into a sultry presence with a tight irresistible serpentine hook. The track took time to get to terms with, musically it is a smouldering wash of elegance and energetic passion but accosted by the initial distraction of the vocals of Grazzi. It is obviously down to personal taste but his slow almost spoken delivery send the song slightly awry and startlingly out of place compared to what came before. Thankfully it is only until he surges into his full singing range where you can only be impressed, his heart driven tones as powerful and thrilling as the constant musical imagination. Being selfish one only hopes he avoids this slow walking delivery in the future, but that is just one lone view of course.

The album continues to excite but when the aforementioned single arrives it just sends shards of rapture through the senses. Ombra (Shadow) is sensational, a song which is like a beacon for the heart, especially if the likes of Leitmotiv and Play Dead hold a place in the emotions from times past. With a persistent sonic tease and boisterous energy around the ever inciting caresses of the keys, the track commands body, thoughts, and emotions like a sonic temptress. It is the best track on the album though matched by the closing triumph Nebbia di Guerra (Fog of War). It too is an insatiable wash of melodic elegance and almost raptorial energy from guitars and rhythms section speared by contagious carnivalesque teasing and sultry wantonness. Like a cross between Sex Gang Children and the poppier touches of The Danse Society it is a final act of magnificence from a simply stunning release.

If the heady times of the older bands mentioned do things to your little blood pumping organ than Sinezamia and La Fuga are a must.

From The Depths is the thumping latest album from Italian metallers In-Sight, a release which just grabs the imagination and takes it on an inventive dance of melodic death metal with the emphasis on the former. It is a thrilling release which as our first introduction to the band is one of the biggest rewards of the year for the passions.

The band began with a Swedish death metal sound in 1996 on the impetus of drummer Gianluca ‘Mek’ Melchiori. In-Sight had decent success with their three self released EPs and good acclaim for their live performances which took them around Italy and Switzerland. It was in 2009 though after a lull for the band that Mek reorganised the line-up and brought in vocalists Andrea Pecora and Emanuela Antonelli, guitarist Mattia Stilo, and bassist Cesare Montagner. This brought on a new spirit and energy which impacted on the more melody driven sounds being created. 2011 saw the band record From The Depths and this year the signing with logic(il)logic Records for its release and also the further addition of second guitarist Riccardo Picchi to the ranks. The album now unleashed on the world sees a band which with still some uniqueness to find to its voice stands apart from most similarly driven artists. This was as mentioned the first time the band has graced our ears and the most pleasurable surprise and experience it has been.

So many things stand out on the album from the superbly crafted and structured songs, the mouth-watering musicianship, and the colossal mix of beauty, intensity, and wilting power. The other tremendous asset the band and release has is the dual female and male attack of the vocalists, both riveting and the perfect union in their individual extremes. Antonelli has a glorious voice, full of grace and power whilst Pecore growls and bruises the senses with a vicious squall of a tone which ignites the primal instincts inside, though he can vary the assault to offer a good texture to his delivery. It is an excellent mix which with its successful formula sets the band apart in that aspect.

Starting with a brief piano led atmospheric instrumental intro the album opens up its full multi-faceted stance with Mind The Light. It takes no time in offloading hungry riffs and pummelling rhythms for the ear to willingly consume before the golden tones of Antonelli lights the skies. As the aural coarseness of Pecore joins the affair and the guitars conjure grooves to spark emotions into life, the song settles into a classic breath with sinewy provocations. It is nothing particularly ground breaking but wholly compulsive and inspiringly invigorating.

The following tracks just elevate things further; Winding Coil is a sensational rub of sonics and staggering harmonies with especially vocally, the almost duelling presence of the two singers a captivating ingenuity and maybe their finest moment on the album, though they push that thought throughout. The track is an intense and vibrant fire of sound and energy which leaves one drooling in musical lust which is soon satisfied further by Frost Hate and Insight. The first of the two brawls with the ear vocally and sonically whilst Antonelli veins it all with delicious elegance through her caressing tones. The second of the pair is a less forceful encounter though it does not shirk on bone snapping riffs and jolting rhythms to intimidate behind the white hot melodic weaves of imagination and sound. It is just another in a blistering confrontation of high quality senses enthralling songs within From The Depths.

As impressive as Parasite and Rary are they drift away from the levels of the previous songs a little, though it is down to the greatness already unleashed rather than their limitations and the band are soon forging another pinnacle with the insatiable hunger of For the Sake of the Show. The song claws at and gnaws on the ear from start to finish with even the ever fine wonder of the female harmonies and vocals unable to soothe the corrosive impact of the song. It is a triumph which leaves thoughts and senses wasted, a tempest of true pleasure.

Closing on Informulation (2011), a track which demands little but gives plenty, From The Depths is a real gem of the year. In-Sight is a band all fans of the likes of In Flames, Soilwork, Dark Tranquillity, and Scar Symmetry, need to track down. This band deserves wide recognition, no question.

Bringing a diverse and strong mix of styles to their rock sound, Italian band Motorfingers is one of those bands you know once heard you will be paying attention to all they do in the future. Black Mirror is their debut album and a release which lights up the passions with its eclectic breath and stirring presence. It is not actually a record which opens new doors for rock but one which comes up with imaginative and thoughtful uses of existing flavours to captivate from start to finish.

Formed in 2008 by guitarists Max Barbolini and Andrea Spezzani with the intent of creating original music inspired by their love of overseas rock music, the band went through a few line-up changes before finding stability with the addition of vocalist Claudio Corrado, bassist Mauree Novelli, and Alex Gualdi on drums. Their debut EP MSC was well received with two tracks being included on the soundtrack of the movie Spark Preludio. Following an intensive time gigging with further acclaim garnered, second EP BrandNew Skin in 2010 made a positively welcome appearance before the band set to work on their first album the following year. Released via logic(il)logic Records earlier this year, Black Mirror is nine tracks of blood pumping energy and fluid creativity which pulls essences from the likes of Velvet Revolver, Nickelback, Metallica, Black Label Society, and Faith No More into its absorbing mix. It is an unpredictable record with inventive twists and well-structured songwriting throughout, a release which at the end of the day leaves a fully satisfied and contented listener.

The album saunters up to the ear with the initial beckoning guitar lures and strong rhythms of opener Bastards and Saints. Having brought attention to bear on its sinewy sound the track relaxes its energy to allow the bass of Novelli to lay a shadowed weave upon the senses whilst vocalist Corrado pushes forward the lyrical content in fine style. The song is undemanding but grips tightly with hot melodic play from the guitars, thumping beats, and the pleasing vocals. The track maybe not become the riot which one was expecting as it began but it is a welcoming invitation to rock hard with accomplished and magnetic sounds.

Dust Over Stone with its heated whispers and compulsive basslines is a strong continuation even if it fails to light the same fires as its predecessor, but with its stylish and skilfully brought sounds it begins to show the good mix of spices and imagination to the release.

The temperature soars with In My Dreams, arguably the best track on the album though a few rival it. Beginning with a hard to soft rock start with a gentle atmosphere admittedly one was not expecting too much from it but was soon put in their place by the evolving journey through sounds. At times it is Seether like then in others offers a slight Linkin Park twist with a progressive tinge. It is an excellent track with further alternative metal tendencies which not for the only time reminds one of UK band Tricore.

Black Mirror is a quality release from first note to last with further heightened pinnacles coming through the evocative gem Mad Crime, a mesmeric slice of thoughtful craft which leaves the senses smouldering , the equally impressive My Soul, and the irresistible Lost. The songs make for a consecutive quartet of treats which lift the album to even loftier acclaim. Each of the tracks keeps you guessing whilst making for a long term friend you feel you already knew with the band turning expectations on their head and seamlessly fusing varied ideas and sounds with majestic ease.

For personal tastes the album slips off of the pedestal it attained before a tad with Fallen Brother, Out Of Control, and Here I Am, and it is merely that the songs take a less adventurous trip through their hard rock influences to offer a presence of less appealing sources. It has to be declared too that each of the songs ignite the passions with infectious hooks, finely shaped invention, and enthused energy which will thrill most rock fans. The second of the trio has a grinding riffing to it which has excitement flaring throughout and makes this demanding freak doubt his view of the song constantly and pleasingly.

Black Mirror is a fine album which will please melodic metal and hard rock fans alike. Motorfingers is a band on the march with sounds to match, you need to check them out.

Celebr-hate is one of those albums for all of its flaws and limitations you just cannot help liking, and maybe more than you know you should. Italian rockers Television 60’s is a band who create honest and undemanding dirty rock n roll seemingly schooled in the essences of Motley Crue, Backyard Babies, and Johnny Thunders and the Heartbreakers. It is not overtly original, at times it verges on ordinary creatively, but man is it fun.

Formed on a drunken escapade in Scotland on new Year’s Eve 2005 by bassist/vocalist Mikki and drummer Cioxxx, the pair returned home to Bergamo to rehearse and work on getting the band up and running. Realising they needed more to their sound than just the two of them guitarist Frizz was enlisted along with a vocalist. The singer came and went followed by another before Mikki stepped forward to do the duties himself. Since expanded by second guitarist Maark, the band unleashed Celebr-hate, their second album, a couple of months back and though it will not challenge best of lists it is a pleasing brawl to party to.

The album is flooded with punk attitude and garage punk sounds fused with classic metal, its middle finger stance as infectious as you can imagine and its anthemic breath at times irresistible. The release takes its time to persuade ear and thoughts to its emerging qualities though with the opening pair of songs doing a satisfying job but little more. Bad Behaviours and Generation (Again & Again) are accomplished slabs of rock n roll but feel slightly stale due to a lack of originality. The first has a Sex Pistols like kick to it, especially with the Lydon like vocals of Mikki, and does a good job of inviting further participation in the release of interest and toe tapping. The guitars are a fiery enjoyment as is the gang chorus which is impossible to resist but overall the song lacks a spark to ignite anything more than passing interest. The same can be said of the second though again it does enough to make a companion worthy of time spent with it.

Things suddenly lift off with the following Don’t Call Back. It is a pulsating beat thumping treat with niggling guitar riffs and crouching basslines which feel like they could leap upon the ear at any moment to ravish flesh. It is a slow stomp of slightly bluesy intent and riveting guitar play speared by much stronger and expressive vocals, and again ultimately anthemic in chorus and group ear slaps. The strong compulsive groove spearing the track is a further greedy lure into a song which tells you more about the band and their promise than the previous two.

Sex Circus and Seek Salvation, Find Damnation continues the rise in appeal and charge creativity. The wanton seductiveness of hooks and rhythms of the first reminds of another Italian band Houston! whilst the other explores wider melodic enterprise than shown before on the release to push the boundaries of the bands songwriting. It is still uncomplicated but thrusts thoughts into a bruising filth clad stroll of heart capturing adventure. Both tracks again offer little new but fires up familiar traits for a varied furnace of easy to devour rock n roll. This consecutive trio of songs is the heart of the album and the strongest most enthralling part of its presence.

The album brings a raw bruise with Get Wasted which is an easy to get on with muscular dance before ending on the less inspiring Messaline and the great closing title track. The last song leaves with the band doing what it does best, fighting on the dance floor with scorched contagious hooks and abrasive in your face attitude and energy.

Celebr-hate is an album you will pick at and maybe criticise a little but also one which will have your voice and limb playing an eager part in the feisty engagement. It has its faults but you have fun in its presence and really that is what it is all about.

The RingMaster Review

The RingMaster

Music writer/reviewer and band/release promo/bio writer.
Artists previously worked with include: In Vain, The Capsules, Solar Halos, Seneron, Crashgate, Able Archer, Machine Rox, Fahran, Centre Excuse, Evanstar, and many more as well as FRUK and Pluggin' Baby.

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Presenter of The Bone Orchard and RingMaster Review podcasts promoting the best underground bands and sounds from metal to rock, punk to noise and more; continually presenting the cream of new independent releases across all genres.

Dark poet at The Carnivale of Dark Words and Shadows http://carnivaleofdarkwordsandshadows.webs.com

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